The Project of Autonomy: Politics and Architecture Within and Against Capitalism, Pier Vittorio Aureli, New York: The Temple Hoyne Buell Center for the Study of American Architecture at Columbia University and Princeton Architectural Press, 2008

2010 ◽  
Vol 18 (4) ◽  
pp. 219-236 ◽  
Author(s):  
Gail Day
Keyword(s):  
New York ◽  
Social Change ◽  
Cultural Politics ◽  
Columbia University ◽  
Architectural Theory ◽  
Avant Garde ◽  
American Architecture ◽  
The 1960S ◽  
The City ◽  
The Temple

AbstractAureli advances a fresh, spirited and combative account of the idea of ‘autonomy’, connecting Italian architectural debates from the 1960s with the politics of class-autonomy that was being developed and advanced by workerist theorists such as Raniero Panzieri, Mario Tronti and Toni Negri. Aureli’s account focuses on Aldo Rossi’s architectural ideas (his Tendenza and his book The Architecture of the City) and the project of the No-Stop City proposed by the young avant-garde group Archizoom. The Project of Autonomy is not simply envisaged as an historical exploration of the 1960s; primarily, it is conceived as an intervention in current architectural theory (and cultural politics), drawing on the author’s interest in Tronti’s politics to challenge the contemporary popularity of a broadly post-Negrian ‘autonomism’. This review questions aspects of Aureli’s reading of Rossi and Manfredo Tafuri. Furthermore, although Aureli’s discussion of Red Vienna opens up onto vital questions of strategies for social change, which remain pertinent to contemporary arguments over ‘enclaves’ or ‘zones’ of resistance, his antagonism towards Tafuri prevents his argument from either exploring or advancing the debate which he has initiated.

Stand, Columbia: A History of Columbia University in the City of New York, 1754-2004

Academe ◽  
2004 ◽  
Vol 90 (5) ◽  
pp. 82
Author(s):  
Katherine Reynolds Chaddock ◽  
Robert A. McCaughey
Keyword(s):  
New York ◽  
Columbia University ◽  
History Of ◽  
The City

scholarly journals Review of Apple's "Cultural Politics & Education"

1996 ◽  
Vol 4 ◽  
pp. 18
Author(s):  
Dieter Misgeld
Keyword(s):  
New York ◽  
Cultural Politics ◽  
Columbia University ◽  
Teachers College ◽  
Politics And Education

A review of Michael W. Apple's Cultural Politics and Education. New York, 1996. Teachers College Press. Columbia University.

The ‘Brazilian Connection’ in the History of American Linguistics

1999 ◽  
Vol 26 (3) ◽  
pp. 355-382
Author(s):  
Cristina Altman
Keyword(s):  
New York ◽  
The United States ◽  
South American ◽  
Columbia University ◽  
Structural Linguistics ◽  
History Of ◽  
Roman Jakobson ◽  
The 1950S ◽  
The 1960S ◽  
The One

Summary When mention is made of Brazil in connection with American linguistics, it usually amounts to a reference to the Linguistic Circle of New York, where Roman Jakobson (1896–1982) and Claude Lévi-Strauss (b.1908), who had come from Brazil where he had done ethnological work, met and exchanged ideas. This singular event has cast a shadow on other contacts between Brazil and American linguistics, of which, the one between Jakobson and the Brazilian linguist Joaquim Mattoso Câmara (1904–1970) was much more consequential, at least as far as the implementation of structural linguistics in Brazil and in South America generally during the 1950s and the 1960s is concerned. Mattoso Câmara came to the United States and spent most of his time in New York City (September 1943 till April 1944), where he got exposure to Praguean type structuralism, notably through Jakobson’s lectures he attended at Columbia University and at the École Libre of New York, which had been established by European refugees at the time. He also participated in the first meetings of the Linguistic Circle of New York in 1943 as one of its co-founders. Following his return to Rio de Janeiro, Mattoso Câmara proposed, in 1949, as his doctoral thesis a phonemic description of Brazilian Portuguese. The work was published a few years later, in 1953. His most influential work, Princípios de Lingüística Gerai, first published in 1954, had two more revised and updated editions (1958, 1967) and served to introduce several generations of Brazilian as well as other South American students to structural linguistics during the 1950s and 1960s.

Back to Work

2018 ◽  
pp. 213-224
Author(s):  
Joseph R. Fitzgerald
Keyword(s):  
New York ◽  
Young People ◽  
First Century ◽  
Wall Street ◽  
Student Activists ◽  
For Profit ◽  
Not For Profit ◽  
The 1960S ◽  
The City

The final chapter briefly touches on Richardson’s second divorce but focuses on her difficulties finding and keeping employment. After holding a series of jobs in various corporate and not-for-profit agencies, Richardson eventually earned a permanent civil service position with the City of New York, where she worked until the twenty-first century. In one way or another, all her jobs involved some kind of social justice. Over the last five decades, Richardson has paid close attention to social change movements, including Occupy Wall Street and Black Lives Matter, and this chapter discusses her thoughts about them, particularly her view that young people have the capability and vision to lead the nation to greater freedom, just as young people did in the 1960s. She advises them to replicate the group-centered and member-driven model student activists employed in the early 1960s and to avoid becoming ideological.

Readymades

2018 ◽  
Author(s):  
Danielle Child
Keyword(s):  
New York ◽  
John Cage ◽  
Marcel Duchamp ◽  
Avant Garde ◽  
Jasper Johns ◽  
Robert Rauschenberg ◽  
The Status ◽  
The 1960S ◽  
Common Understanding ◽  
Bicycle Wheel

In 1916, the French artist Marcel Duchamp coined the term "readymade" to describe a body of his own work in which everyday and often mass-produced objects were given the status of a work of art with little or no intervention by the artist beyond signing and displaying them. He began to produce these works in Paris, beginning with Bottle Rack (1914) and Bicycle Wheel (1913). (Duchamp, however, did not explicitly acknowledge these works until his move to New York in 1915.) These two works present examples of the two distinct types of readymades: readymade unaided and readymade aided. The most well-known readymade is Duchamp’s Fountain (1917), which was famously refused entry into an exhibition with no entry conditions. Much later, Fountain became symbolic of the emergent shift from modernism to postmodernism in the 1960s, with the group of artists who gathered around the composer John Cage, including Robert Rauschenberg and Jasper Johns, sometimes referred to as the neo-avant-garde. It was during this period that Duchamp’s account of the function of the readymade was consolidated into the now common understanding, which is that "readymade" constitutes an object chosen by an artist and declared to be art.

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